Exam

Question 1

The Golden Fibula

Answer 1

C 650 BC, Regolini-Galassi Tomb

5 striding lions = Assyrian motif

Vines and rosettes = Corinthian

Question 2

Ivory Pyxis

Answer 2

650-600 BC, Pania Burial, Chiusi

Relies on Greek models, shows awareness of Greek literature = Odyssey

Divided into 4 registers by narrow vinework, like on Corinthian pottery

Question 3

Tomb of the Bulls

Answer 3

560 BC, Tarquinia

Shows strong foreign influence:

Bulls resemble bulls in Sumerian and Assyrian art

Central panel = Greek myth of Achilles and Troilus

Figures have Archaic proportions, red skin for men, pale for women, the narrative moment of just prior to violence is a Greek convention

Question 4

Tomb of the Augurs

Answer 4

530 BC, Tarquinia

Central wrestling figures = Greek contest drawn in the Greek style with Archaic proportions, profile figures with frontal eyes.

Cauldrons = Greek prize

Question 5

Tomb of Hunting and Fishing

Answer 5

530 BC, Tarquinia

More Etruscan and less Greek

In pediment just below roof = banquet scene with a man and a woman = pairing of genders is Etruscan BUT they follow Greek colour convention

Major scene on wall = men in natural world = Etruscan

Question 6

Tomb of the Diver

Answer 6

480 BC, Paestrum (Greek colony)

Greek wall painting

Symposium scene = Demonstrated Greek concept of male same-sex love, has an older man with a lyre

Solidly in late archaic tradition, uses Greek colour convention, bodies not integrated, faces profile views, no shading

Diving scene = artistically Greek style but the scene is uniquely Etruscan

Question 7

Tomb of the leopards

Answer 7

470 BC, Tarquinia

Back wall, large banquet scene, relies on Greek models BUT tripartite division both horizontally and vertically and the use of red lines to define registers and to act as groundlines for the upper zones = Etruscan

Plus male and female couples = Etruscan, indicating Etruscan adaptability from Greek original

Horror vacui = Etruscan, also seen

Question 8

Tomb of the Triclinium

Answer 8

470 BC, Tarquinia

The dancers = demonstrate the continuity of influence of Greek archaic style and subjects in Etruscan art

Question 9

Pediment relief sculpture from Temple A, Pygri

Answer 9

Pygri, 460 BC

One of the best examples of Greek subjects in Etruscan art

Large, high relief, terracotta plaque filled the pediment at rear of temple

Illustrates a dramatic scene of the Greek myth of the Seven against Thebes, duel between Tydeus and Melanippus

Chosen moment of climactic narrative = not a Greek convention

Question 10

Etruscan tomb paintings of the 4th century BC

Answer 10

Two major changes from the idealised images of banquet and elite status activities seen in earlier sixth and fifth centuries BC.

1. Subjects become darker, mood change from celebration of life to mourning of death.
2. In this period true portraits make their first appearance in Etruscan painting

Question 11

Tomb of the reliefs

Answer 11

4th century BC, Cerveteri

Shows expertise in terracotta, expansion of Greek material into new areas

Charon and Cerberus = Greek mythology

Demons and the underworld = a shift

Question 12

Tomb of Orcus

Answer 12

330 BC, Tarquinia

Demons, often tormenting people in the underworld

Portraiture emerges by late 4th century, initially generic

Question 13

Etruscan temple

Answer 13

Rests on podium

Frontal emphasis

Columns normally only at front

Question 14

Italo-Etruscan temple

Answer 14

High podium

Steps at front

Deep columnar porch

Columns run along sides

Single cella

Question 15

Temple of Magna Mater

Answer 15

On the palatine, 204-191 BC

Earliest known use of opus incertum

Question 16

First known use of opus incertum

Answer 16

Temple of Magna Mater, 204-191 BC

Question 17

Temple of Jupiter Stator

Answer 17

Rome, 146 BC

First temple in Rome made entirely of marble

Question 18

Temple of Hercules Victor

Answer 18

Forum Boarium, 120 BC

Entirely of marble, circular, Corinthian, Hellenistic influence

Question 19

Stabian baths

Answer 19

Pompeii, 2nd century BC

Earliest baths with Heated rooms and running water

Question 20

Forum baths at Pompeii

Answer 20

80BC

Question 21

First permanent amphitheatre

Answer 21

Built in Pompeii, c. 80BC

Question 22

First permanent theatre in Rome

Answer 22

Theatre of Pompey, 55BC

Question 23

What made large scale building projects possible in the 2nd century BC?

Answer 23

Influx of wealth due to overseas conquests + ready availability of cheap concrete

Results of this = Temple of Fortuna Primogenia, Temple of Jupiter Anxur at Terracina

Question 24

Temple of Fortuna Primogenia

Answer 24

Praeneste, late second century BC

Hidden strength of opus incertum

Question 25

Bernardini Tomb

Answer 25

690-650 BC, Praeneste Dated by 4 Proto-Corinthian sherds Gold, silver, Ivory, wood, bronze, Amber, glass, iron Ivory pedestaled cups, gold kotyle (imitates Greek shape) with sphinxes (orientalising), hemispherical cast glass bowl (most likely eastern) , 4 bronze cauldrons (influenced by Urartian style cauldrons) => imitations Bernardini tomb fibula plaque = many gold sphinxes

Question 26

Regolini-Galassi Tomb

Answer 26

675-650 BC at Cerveteri Urartian style imitation cauldrons Golden fibula = granulation, embossing and punching Gilded silver= Cypro-Phoenician bowls Etruscan silver amphora

Question 27

Tomb of the five chairs

Answer 27

650-625 BC at Cerveteri Carved pitched roof ceiling Terracotta seated figurines of the dead

Question 28

Canonic urns

Answer 28

Found inland like at Chuisi in smaller tombs, later 7th c BC to early 6th c BC Gets more elaborate as time progresses

Question 29

House urns

Answer 29

6th-5th century BC Inland cities like Chuisi, Etruscan

Question 30

Terracotta urns

Answer 30

Lounging figure, 2nd-1st for BC Body reclines more over time Relief on side is a particular Greek myth from Seven Against Thebes

Question 31

Volterran urns

Answer 31

Made of alabaster not terracotta which allows greater variety of subjects 3rd c - 1st c Bc

Question 32

Murloc(Poggio Civitate)

Answer 32

7th c Bc complex, not a temple Largest building known in Italy at the time Terracotta statues along ridge poles

Question 33

Early Rome

Answer 33

15th-14th c BC pottery on Capitoline and NE Palatine 11th-10th c BC pottery on Capitoline and in forum of Caesar cemetery 9th c BV pottery on slopes of Palatine Sanctuary of Vestal Virgins and Domus Regia were later buildings Paving of forum ca 630 BC (votive offerings found in wells help to date this) Temple of Fortuna and Mater Matuta ca 580 BC in Forum Boarium

Question 34

Pygri

Answer 34

Double-temple sanctuary First temple end of 6th c BC(temple B), second ca 460 BC (temple A) Etruscan plan Plaque from rear gable of Temple A stylistically ca 460 BC, Greek Theban myth: Melanippus and Tydeus

Question 35

Intarsia

Answer 35

Wall mosaic Domus transitoria AD 62-64, opus sectile floor and intarsia wall decoration

Question 36

First style

Answer 36

200-80BC House of the Faun, the facade of the house uses Corinthian pilasters on either side of the front entrance Also used in the interior of the basilica at Pompeii House of Sallust at Pompeii c. 100BC, with some Etruscan features such as tripartite wall division and a main focus on the central zone

Question 37

Second style

Answer 37

80-15 BC Earliest = House of the Griffins in Rome

Question 38

Second style, first phase

Answer 38

80-40BC Breaking down of enclosing space of the room and the imitation wall pushed to the background by a screen of columns, illusionistic entablature Largely tripartite, both horizontally and vertically, BUT first steps towards centralisation

Question 39

Second style, second phase

Answer 39

40-15 BC Upper zone of wall appears to recede, illusion of Windows that allow further architecture to be viewed in the distance See first appearance of figure painting in Roman mural decoration, starting in the upper zones and gradually to a major subject Villa of Oplontis c 40 BC, west suite, centres on a door into a sanctuary with a large tripod as a focal point Villa or mysteries c 40 BC at Pompeii, some painting similar to Oplotis' BUT room 5 differs immensely => line of large scale figures

Question 40

Third style

Answer 40

Tied to household of Augustus Earliest = Villa Farnesina in Rome Full expression prof Third Style = Villa at Boscotrecase near Pompeii No illusionism, favours panel paintings, emphasises landscape scenes with or without figures Colours shift to reds, yellows, blacks and whites often in large blocks of colour creating empty space in the flanking panels of the wall Villa at Oplontis c 10BC, the Caldarium, shows the spread of this style beyond the family of Augustus

Question 41

Development of Bucchero

Answer 41

Thin walled bucchero 675-626 BC Transitional bucchero 625-575 BC Heavy Bucchero 575 - beginning of 5th century BC

Question 42

Thin walled bucchero

Answer 42

675-626BC Found in tombs at Caere, thin wall construction and sharp features echo metallic prototypes. Decoration in the earliest examples is usually of geometric incision, including chevrons and other linear motifs

Question 43

Roma portrait development

Answer 43

Late republic, Etruscan traditions continue to affect Roman art. Example = head of a man from votive deposit, Manganello, Cerveteri c100BC, painted terracotta (follows Greek and Etruscan conventions of colour) Many of the same features found in contemporary bronze portraits , shows continuation of Etruscan traditions Example = Aulus Metellus, bronze, c 90BC Veristic style Example = veristic portrait of a Roman man, marble, c50 BC, Verona Veristic style may have developed as a backlash against Greek classicising imagery or a way of emphasising traditional character traits thought to be lost in the chaotic period of the late republic Italic veristic and Greek ideal combined in the portrait of a victorious general from the Temple of Hercules at Tivoli from 75-50BC, marble, idealised and muscled body but veristic portraiture Augustus, new style of Classicising portraiture. Identical facial features and hair styles convey a sense of family. Example = Augustus as Pontifex Maximus, from Via Labicana, Rome, c12BC, marble Example = Prima Porta Augustus, from villa of Livia at Prima Porta c14BC Tiberius relies heavily on precedent established by Augustus Example= portrait of Tiberius, after 4AD, from Fayum in Egypt Portrait of Claudius with attributes of Jupiter, 42 AD, Lanuvium, marble, => follows JC tradition, but reintroduction of some verism in the face , abandons ageless look of Augustus and Tiberius Vespasian rejected JC Classicism, uses verism Example = Portrait of Vespasian 70-79AD, marble Domitian has some Flavian elements but has fuller hair Example = Portrait bust of Domitian c90AD Intricate hairstyles of female portraiture , masterful use of chisel and drill Example = portrait bust of a Flavian lady, c90AD Trajan, more in common with Augustus

Question 44

Forum Trajan vs Augustus' Forum

Answer 44

Trajan relies on the basic design and building sets of each previous imperial fora. Consisting of an open plaza surrounded by a portico, an emphasis on axiality and symmetry with an entrance on one short end, and a temple as the culminating monument on the other end. Large pair of hemicycles taken from Augustus also the volcanic stone firewall and the equestrian statue